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French Painter Paul Gauguin

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French Painter Paul Gauguin Modern-day Artistic Reaction: The New York Times Considers “Canceling” French Painter Paul Gauguin By David Walsh Region: USA Global Research, November 29, 2019 Theme: History, Intelligence World Socialist Web Site 25 November 2019 According to Victoria Charles, a biographer of French Post-Impressionist painter Paul Gauguin (1848-1903), the artist died in Atuona, in the Marquesas Islands in French Polynesia, “having lost a futile and fatally exhausting battle with colonial officials, threatened with a ruinous fine and an imprisonment for allegedly instigating the natives to mutiny and slandering the [French] authorities, after a week of acute physical sufferings [from syphilis] endured in utter isolation.” Upon receiving the news of the death “of their old enemy, the bishop and the brigadier of gendarmes—the pillars of the local [French] colonial regime—hastened to demonstrate their fatherly concern for the salvation of the sinner’s soul by having him buried in the sanctified ground of a Catholic cemetery. Only a small group of natives accompanied the body to the grave. There were no funeral speeches, and an inscription on the tombstone was denied to the late artist.” The bishop subsequently wrote in his regular report to Paris: “The only noteworthy event here has been the sudden death of a contemptible individual named Gauguin, a reputed artist but an enemy of God and everything that is decent.” Paul Gauguin, Ta Matete, 1892, Kunstmuseum Basel | 1 Over the course of the next several decades, Gauguin’s importance as an artist became widely recognized. His influence on Henri Matisse, André Derain, Pablo Picasso, Georges Braque, Fauvism and Cubism was especially significant. Matisse argued that Gauguin had “cleared the way,” along with Eugène Delacroix, Vincent van Gogh and Paul Cézanne, for the “rehabilitation of the role of colour, and the restitution of its emotive power.” Meanwhile, the opinions of “the bishop and the brigadier of gendarmes” concerning Gauguin’s “contemptible” life-style and activity came to be viewed with disdain—or, more to the point, were simply forgotten. Simultaneously, his paintings of Tahitian women and landscapes, in particular, with all their inevitable contradictions, gained favor among great numbers of people for their brilliant color, expressiveness and sympathy. However, the contemporary intelligentsia, in its degeneration and decay, unoriginal and uninspired to the core, is effectively reviving the slanders of the aforementioned “pillars of the colonial regime”—now in the name, ironically, of supposed anti-colonialism and feminism. Objectively, this heavy-handed effort by affluent middle-class layers is directed toward encouraging conformism and staving off the growing radicalization of young people, in particular. Treated outside of any historical or psychological context, Gauguin’s life is turned into a cautionary tale about the dangers of straying from the dictates of today’s petty- bourgeois moralists. Born out of instinctive social fear and economic self-interest, this dishonest accounting of his art and life is a form of intellectual intimidation. Image on the right: Paul Gauguin, Two Tahitian Women, 1899 The New York Times embodies and spearheads this modern-day philistinism and political reaction. Outraged by Gauguin’s continuing popularity with many art lovers and the public at large, the Times and its international allies, the Guardian in Britain, for example, along with various academics and art critics, have been attempting for some years to destroy Gauguin’s reputation. As one such figure, Norma Broude, put it, the “awakening” in the early 1970s in regard to Gauguin’s supposed sins “did little to alter Gauguin’s place in the mainstream canon, if judged by the steady stream of major exhibitions that have continued to appear down to the present day.” She continued: “But it did lead at the time to a vehement rejection and repositioning of Gauguin in the feminist art-historical literature, where he soon came to be | 2 castigated, as much for his life as his art, in terms of late-twentieth-century standards and moralities in general and in terms of feminist and postcolonial ones in particular. ” [Emphasis added] The well-heeled and complacent perpetrators of this campaign do not let the complex facts of Gauguin’s life and career, including his immense sacrifice and suffering, stand in their way. In the latest attack, the Times published an article November 18 with a headline that posed the question, “Is It Time Gauguin Got Canceled?” The sub-headline continued, “Museums are reassessing the legacy of an artist who had sex with teenage girls and called the Polynesian people he painted ‘savages.’” The new piece, by culture writer Farah Nayeri, forms part of the Times ’ relentless promotion of sexual, gender and racial politics. Image below: Paul Gauguin, 1891 The article begins provocatively: “‘Is it time to stop looking at Gauguin altogether?’ That’s the startling question visitors hear on the audio guide as they walk through the ‘Gauguin Portraits’ exhibition at the National Gallery in London. The show, which runs through Jan. 26, focuses on Paul Gauguin’s depictions of himself, his friends and fellow artists, and of the children he fathered and the young girls he lived with in Tahiti.” Who would pose such a “startling”—and foul—question about a major artist? In the past, only deservedly hated censors and authoritarian governments proceeded along these lines. This has been the language and behavior of the extreme right. What is the implied alternative to people “looking at Gauguin?” Should we censor or burn his work to prevent it from being seen by the general public? National Gallery officials should be ashamed of themselves for even raising such a question. They are capitulating shamefully to the current upper-middle-class obsession with sexual conduct, projected into the past in the case of someone like Gauguin. Victorianism and prudery have reconquered these strata, without much apparent resistance. Nayeri writes later: “In the international museum world, Gauguin is a box-office hit. There have been a half-dozen exhibitions of his work in the last few years alone, including important shows in Paris, Chicago and San Francisco. Yet in an age of heightened public sensitivity to issues of gender, race and colonialism, museums are having to reassess his | 3 legacy.” One of the know-nothing philistines that Nayeri cites is Ashley Remer, a New Zealand-based American curator, who asserts “that in Gauguin’s case the man’s actions were so egregious that they overshadowed the work.” Nayeri quotes Remer as saying, “He was an arrogant, overrated, patronizing pedophile, to be very blunt.” Again citing Remer, the Times piece continues: “If his paintings were photographs, they would be ‘way more scandalous,’ and ‘we wouldn’t have been accepting of the images.’” Nayeri goes on: “Ms. Remer questioned the constant exhibitions of Gauguin and the Austrian artist Egon Schiele, who also depicted nude underage models, and the ways those shows were put together. ‘I’m not saying take down the works: I’m saying lay it all bare about the whole person,’ she said.” Image on the right: Paul Gauguin,Vahine no te tiare(Woman with a Flower), 1891, Ny Carlsberg Glyptotek Of course, the logic of her argument leads precisely in the direction of “taking down the works,” or, rather, not putting them up to begin with. Why else “question” the obviously irritating “constant exhibitions?” At any rate, who is Remer, someone without the slightest artistic or intellectual standing, to determine that Gauguin is “overrated?” The Times is pursuing a two-pronged campaign. On the one hand, the newspaper gloats over and incitespresent-day efforts, for example, in France (and elsewhere) to suppress Roman Polanski’s filmJ ’ accuse ( An Officer and a Spy ) on the Dreyfus affair and anti- Semitism, and on the other, it aggressively urges the exclusion of artistsfrom the past of whom its middle-class constituency is encouraged to disapprove. What atrocities are still to come? Who will be next in this Vandal-like effort to blot out troubling cultural personalities? Paul Gauguin was a major artistic figure, whose painting had a genuine influence on the development of modern art. When one considers the occasionally brutal or callous details of | 4 his personal life, or simply his bluntness, it is worth considering the harsh and bloody social framework that helped shape him. The future painter was born in Paris on June 7, 1848, as one biographer noted, “in the midst of the revolutionary events when barricade fighting was going on in the streets of the city.” June 1848 witnessed the mass uprising of the Paris working class and its subsequent murderous suppression by the French army under General Louis-Eugène Cavaignac. More than 10,000 people were killed or wounded in the fighting, including thousands of insurgents—another 4,000 political prisoners were later deported to Algeria. With the final triumph of the status quo in late June, wrote Karl Marx, “the bourgeoisie held illuminations while the Paris of the proletariat was burning, bleeding, groaning in the throes of death.” Gauguin’s parents were the French-Peruvian Aline Maria Chazal, daughter of the socialist Flora Tristan, and liberal journalist Clovis Gauguin. In the autumn of 1849, for political reasons, the family left for Peru, where Gauguin lived until the age of 7. Paul and his mother eventually returned to France (his father having died en route to South America), living at first in Orléans in the house of an uncle then under police surveillance due to his role in the 1848 revolution. Paul Gauguin, Where Do We Come From? What Are We? Where Are We Going?, 1897-98 At 17, Paul joined the merchant marine and three years later, the French Navy. Following the collapse of the French forces in the Franco-Prussian war, he returned to Paris in April 1871, in the midst of the Commune.
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